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Having grabbed a bunch of train whistle samples recently for a project, I can happily say that there are masses of steam train horn and whistle samples available for free online if you google around; usually catalogued by more details than one could ever imagine: engine, whistle, line type, season, etc. (Thanks, trainspotters!)
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Apr 18, 2012 14:32
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mottbag posted:I'm having heaps of trouble getting a drum machine sound I like, particularly the closed hihat sound that starts at 0.12 in this song: I'd guess at an appropriately pitched and processed Sequential Drumtraks or Alesis HR-16. Be sure to check out cabasa/tambourines as well as closed hi-hats.
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Jun 16, 2012 20:49
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Sizone posted:The term "virtual analog" came about in the mid '90's when people got tired of romplers and synth manufacturers started making digital synths with an osc->filter->envelope signal path again. It really refers more to the structure than the sound, if you have a synth with a self resonating filter and knobs on the user control side of things then you have a "virtual analog" synth regardless of whether it is designed to emulate analog circuitry. I may be biased, but to me virtual analog means more than just the basic module structure of a synth. The term came to prominence (the first usage was the silk-screening on Clavia's Nord Lead) as micro-processors increased in power and dropped in price. This enabled non-naive DSP emulations of analogue synthesis that were previously impossible: band-limited oscillators supporting FM cross-mod, sync, and pulse width modulation (features which romplers simply can't perform adequately); exponential envelope curves; LFOs into the low audio range; non-linear frequency and phase responses; non-aliased modulation; etc. You're sadly right that in marketing terms "virtual analog" has now just come to mean providing a few filter knobs on the fascia, though. However, that doesn't mean my ears and wallet will accept buzzy aliased oscillators, faked self-oscillating resonance, and a lack of smooth pulse width modulation. HotCanadianChick posted:Digital can sound as good as analog, if it's done well. It's not often or always done well, however. Yep. drat right on both those points.
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Oct 6, 2012 19:59
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CareyB posted:http://soundcloud.com/itsmodamusic/tom-staar-two-tone-simms-ado-1 Distorted analog filter with the resonance up high, attack on the filter envelope sweeping it up. Very simple to make on something like a Doepfer Dark Energy. CareyB posted:This is more a Sidechain effect I've been trying to master, where the bass pumps every off beat as in this: https://www.youtube.com/watch?v=c_zKljvH7AM I'd buss the kick and bass together into a heavily pumping compressor to keep the whomp strong, and apply some characterful EQ & channel distortion before/after the compression to taste.
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Oct 6, 2012 20:06
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Lhet posted:How do I get good sounding minimal percussion (if that's the right term) like this? Along with Flipperwaldt's great suggestions, you should try and get some Transient Designer type plug-ins in your life. (Flux BitterSweet is one free option but different implementations can sound, feel and respond radically different.) Alternatively, try applying some ultra-fast gates that don't close completely. Edit: A good trick for effecting sharp ticky percussion is to parallel process it so that one channel has just the dry transient attack, whilst the second buss is the pure sustain - without attack - that is fed to your chosen effects chain. ynohtna fucked around with this message at 16:47 on Apr 14, 2013 |
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Apr 14, 2013 16:16
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Alan Smithee posted:Anyway looking for a composer to do parody/sound alikes of copyrighted movie themes and pop songs for a web series, the more versatile the better. This would be an ongoing thing, per project basis Can you give a rough idea of your budget range for this? I know a bunch of guys who do this kind of thing - creating highly recognisable but legal "homages" for on-board synth demos, adverts, games, conference and exhibition purposes, etc - but because they do it professionally, and have a lifetime of career and ear experience for it, they do expect a certain amount of renumeration. Alternatively, you may want to go trawling SoundCloud groups. I'm sure there's dozens/hundreds of groups dedicated to covers and sound-alikes of known hits. Hell, you may even find a bunch of stuff already licensed as CC-BY. (A look through http://search.creativecommons.org could also be in order.)
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Jan 6, 2014 02:13
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I am the M00N posted:Now, what kind of synth is this? Is it subtractive or FM? The clue is in RobattoJesus' mention of a low pass filter, which reduce the amount of high frequencies present in a sound. One could almost say they "subtract" the top end.  Of course, many modern FM synthesis implementations these days also include a filter but one shouldn't be anything bar a normal analogue(-esque) subtractive synth to recreate that pluck. What synths do you have access to? Edit: an additional note is that many sounds - particularly ones which are mostly transient, like plucks - sound extremely different when isolated then when used within a mix. Thus, when trying to closely recreate a tone it's a good idea to have some other musical parts at hand to test it with, rather than solely working on it solo. A simple and low-effort way of doing this is to slice out a loop of the source song which doesn't include the part you're replicating. ynohtna fucked around with this message at 19:36 on Jan 7, 2014 |
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Jan 7, 2014 19:32
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Popcorn posted:I'm wondering if it can be recreated using a free synth instrument like P8, Synth1 or one of Ableton's synths. I spent some time trying to do it myself, but I'm a bit of a synth amateur I haven't got anything sounding nearly as good. It's particularly the filter envelope I can't get sounding right. Buy a copy of Computer Music magazine to get Zebra|CM for free. Zebra has a lot of unique magic in its oscillators and filters which Howard Scarr exploits to the max in his presets. Trying to emulate such tonality elsewhere is going to be one hell of a pain compared to doing it within the same engine (albeit slightly cut down in the CM edition). (Zebralette can be downloaded for free straight from u-he.com but is even more cut down than the |CM edition, so do try getting Computer Music if you can. It's worth it just for that plug-in!) polynominal-c, you should also look into using Zebralette/Zebra|CM/Zebra. It's oscillator FX are perfect for sculpting those dark, evil motion timbres. Edit: actually, everyone into great and deep sound design needs to get into Zebra. Partner it with Aalto and you'll have enough sonic juice to survive for decades. ynohtna fucked around with this message at 01:26 on Feb 2, 2014 |
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Feb 2, 2014 01:21
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Popcorn posted:I had no idea about this. Thanks for the tip, it sounds promising. No problem, mate, and I, too, dig your tune.  Just a quick correction, though: Zebralette is not a cut down version of Zebra|CM. They each have a different subset of features to the full Zebra so do try to get both and dig deep. Layered together they make a powerhouse source for evil, dark drones, groans, pads, zaps, etc etc (at least until one can't hold back from buying the full Zebra for maximum satisfaction). Anyway, with one or both of the the freebie versions you should definitely get drat close to your desired sound. Zebra|CM edition is only 32 bit, and has 2 oscillators but lacks spectro/geo wave editing and the amazing oscillator FX. It does have a post-oscillator filter, with a myriad of filter types to choose from. Zebralette has a single oscillator but with the full set of deep editing features on it including dual modulatable osc FX. It also has an multi-segment envelope generator on top of the base env and LFO options. There's no filter inside Zebralette (!) although one of the osc FX choices is a filter, and the oscs can be manipulated and warped to such a degree that it's not really needed a lot of the time. Also, the chorus effect can be abused to take out any excessive top and bottom end. Edit: and of course every oscillator in any of the Zebras can be instantly cloned through a quick drop-down menu into 2, 4 or 11 (!) detuned and panned copies of itself for added thickness and insanity. 
ynohtna fucked around with this message at 13:38 on Feb 2, 2014 |
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Feb 2, 2014 13:13
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Here's some loose information on the recording of Don't Bring Me Down: http://www.soundonsound.com/people/classic-tracks-electric-light-orchestra-dont-bring-me-down And I seem to recall Tape Op magazine had some articles with Reinhold Mack on the recording of other ELO tracks, if you want to dig through their archives.
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Jul 31, 2016 08:52
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